12 A.02. ENGLISH VERSION Contemporary science and technology in Psaltiki : the patriarchal pædagogy of Iakovos Nafpliotis vs. musico-papyro-numerology. The Patriachal pædagogical process of Iakovos Nafpliotis, as this was passed on to his young student, the Protocanonarchos Stylianos Tsolakidis, has contributed in isolating a number of interactive parameters («dependent variables»), which constitute the basic ingredients not only of the living Orthodox psaltic tradition, but that of its Gregorian («ecphonetic») counterpart as well. Today s technology allows for [a] sampling and digital representation of a number of parameters that can be extracted from either audio files (Sonic Visualizer 3, Melodos 4 ) or from printed as well as manuscript material (Gamera psaltiki OCR 5 ) in either Contemporary or Paleographic Psaltic Notation as it can be found in various languages, [b] statistical analysis as well as distribution/classification of this information within some database, which can furthermore be [c] searched using homologous formular sequences (by applying methods analogous to those used in molecular biology) so as exploit all this information adequately in new compositions and adaptations in any language. This will allow for a significant increase in samples and, by consequence, a satisfactory statistical analysis of various comparisons. Finally, psaltic pædagogy will be greatly improved by the use of entire musical formulæ that can be linked to audio samples originating from confirmed traditional psaltis, thus re-establishing at least one part of the o/aural tradition («κατ-ήχησιν», literally «by sound»), which constitutes an equivalent foundation (along with the various written forms) of the Orthodox Christian Church s tradition. A number of important parameters are listed here. Intervals: the first set of data obtained from audio of great psaltis such as Iakovos Nafpliotis show very little deviation from the theory of Chrysanthos, as opposed to the gaps created by later theories, namely those of the 1881 Commission and, in particular, that of Simon Karas. Three intervals are of primary interest: the diatonic 3 [http://www.sonicvisualiser.org/] 4 [http://www.melodos.com/index2.htm] 5 Christoph Dalitz, Georgios K. Michalakis and Christine Pranzas «Optical recognition of psaltic Byzantine chant notation», International Journal on Document Analysis and Recognition, Volume 11, Number 3 [December, 2008], pgs [http://www.springerlink.com/content/ /] Article : [http://lionel.kr.hs-niederrhein.de/%7edalitz/data/publications/preprint-psaltiki.pdf] Project : [http://psaltiki4gamera.sourceforge.net/] Contents : [http://lionel.kr.hs-niederrhein.de/%7edalitz/data/projekte/psaltiki/doc/] User manual : [http://lionel.kr.hs-niederrhein.de/%7edalitz/data/projekte/psaltiki/doc/usermanual.html] 7

13 scale (1) major tone (usually quantified as significantly greater than 204 cents, in melodic locations where there is no doubt as to lack of any «attraction ), and (2) fifth (significantly greater than 702 cents) are best described by the 68 Chrysanthian unit scale if, in spite of various objections, it is to be considered as logarithmic. Similarly, the 64 Chrysanthian unit scale considered as a 64ET scale yields a very close approximation of (3) identical thirds almost equal to the golden ratio (Chrysanthos = 356,25 vs. Golden ratio = 354,82 cents), such as they are chanted by Iakovos. The remaining parameters are easily visualised using contemporary technology such as audio spectral analysis programs, and allow detection as well as classification of a number of performance pathologies: Rhythm is an important concept used in written form (composition) of melodies, and, for a given palæographic «μετροφωνία» (melodic skeleton), there exist numerous variations/alterations of a theoretical symmetrical rhythmic emphasis, not only in written but, even more so, in o/aural tradition. Chronos is a «generic» term describing various phenomena used during ecclesiastical interpretation of scores, and involves changing durations of a written score by making use of hand and other body motions, that act as a «lever» to the audiophonatory loop. There exists a variety of such movements, and alternating amongst them results in a pleasant, non monotonous melody, in which new, more complex rhythms that are difficult (if not impossible) to transcribe or easily read (if ever they were to be transcribed). Correct «χρόνος» requires ample consonant anticipation and vowel explosion, marked use of «glissando pes» for impulse, and duration expansions that are well compensated for by duration compressions throughout one or more meters. Vocalisations («λαρυγγισμὸς») should be performed within certain well-defined boundaries, in very condensed manner, either at the very beginning or ending of a duration, yet never within a certain refractory period, where they can impede with the consonant anticipation of the upcoming syllable. Discreet, steady notestep progression involves limiting all vocalisations to a minimum so as to obtain a maximally invariable duration for each note, i.e. having a slope of zero and very little vibrato. When coupled to anisochronous duration distribution, this process will reveal the underlying metrophonic stenography of paleographic manuscripts. Beat impulse entry should be attacked with steep slopes, just like the ringing of a bell. Attractions («ἔλξεις») and developments («ἀναλύσεις») are not to be written but, rather, should be learned by constant perceverance and imitation. The ison should remain unaltered. The softening and unbalanced use the above parameters leads to various pathologic performances such as «effeminate» («ἐκθήλυνσις»), «happy-go-lucky» 8

14 («ἱλαροχορευτικὸν» 6 ) - thus leading psaltiki towards contemporay occidental sacred music tendencies-, «borborygmic- drunken sailor» («μεθυσο βορβορῳδία»), «folkloric free style» («ἐπιτραπεζῳδία»), vocal «Turkish flute imitation» («φωνητικῆς Τουρκικο-αὐλομιμήσεως») 7, «pious» («εὐσεβισμός») or even «seductive» («συγκίνησις») singing, all of which constitute an approach that is contrary to the Orthodox Christian faith, which preaches an attitude of confidence and hope, by means of a constant everyday recall of the message of Christ s Resurrection. Future psaltis should first be excellent, fluent readers («ἀναγνώστης») and have a comprehensive understanding of what is chanted. The human voice should not submit itself to an instruction provided by an instrument : the voice s particularities in timbre and production of sound inflections makes it the only «instrument» capable of conveniently educating the human «audio-phonatory loop», with the various psycho-acoustic effects that are proper to the human voice. The form safekeeps the essence («ὁ τύπος διασώζει τὴν οὐσίαν»). Psaltis should chant complete melodic lines, as they would have been learnt by listening to variations provided by ten traditional psaltis. Such a small number of truly competent psaltis per generation is sufficient to transmit all existing o/aural formulæ («ἀκούσματα») to an equal number of young psaltis, thus guaranteeing conservation and high fidelity transmission of psaltic tradition from one generation to the next. 6 «ἱλαροχορευτικὸν» : term coined by psaltis and teacher Theodoros Akridas, president of the «Hypermachoi» Association, which mainly contests the method of Karas and his followers. 7 This refers to trills with attenuated (slower slope attack), which makes gives a more «sensual» type of vocal performance. 9

15

16 B. P R E S E N T A T I O N B.01. SOUND AND PSALTIKI B FUNDAMENTALS OF SOUND PRODUCTION AND PERCEPTION Sound is information: it can function as a stimulus that can be detected, transduced, quantified, encoded, perceived, imitated, reproduced, verified, memorised and transmitted within a given time as well as from one generation to the next, thus creating an audio-phonatory loop as far as human vocal language is concerned. The sound of speech and that of psaltiki is produced from the human vocal cords and, as such, is constituted of characteristics that the human auditory system can analyze with much higher finesse than it can any other sound. The complexity of the vocal signal is such that instruments used before the advent of electronic instruments could not reproduce: this is the reason why only voice can educate voice, in spite of the use of string instruments in existing theory books. Characteristics of Sound Sounds consist of pressure variations in the air (without which sound cannot exist), and evolves almost linearly until the transduction phase, while it is finally perceived in logarithmic form within the nervous system, where it can be compared with pre-memorised sounds. This final stage is the source of psycho-acoustic effects, or even modifications (due to concurrent stimuli, musical or other). However, this final phase can also be a source of erroneous appreciation due to the 11

17 lack of specific environmental (cultural) stimuli, thus leading to communication difficulties between musicians who perceive similar samples differently. 8 Objective and subjective characteristics of sound Objective frequency (συχνότης) amplitude harmonics (ἀρμονικαὶ) Subjective pitch (ὕψος) loudness (ἰσχὺς) timbre (χροιὰ) Sound is produced by vibrating objects that generate waves, which can be described as fractions of a chord (linear description). Objective and subjective quantification of sound can differ, and modern technology allows for detection of characteristics such as frequency (Hz), amplitude and harmonics. Subjectively, these parameters correspond to pitch, loudness and timbre (specific qualities). The human ear is most sensitive to frequencies between 1 and 3 khz although it can detect sounds ranging from 20 Hz to 20 khz. The auditory signal may be objectively traced within the Central Nervous System using methods such as Auditory Evoked Potentials and Functional MRI. Language brain centres may be even stimulated non invasively using modern techniques such as Transcranial Magnetic Stimulation (TMS). Vocal «i» English horn Violin Vocal «i» Vocal «a» Vocal «é» English horn Violin Vocal «i» Vocal «a» Vocal «é» Vocal vs. Instrumental Harmonics G 3 at 196 Hz Vocal Instrumental Periodic sounds can be shown by Fourier analysis to have line spectra containing harmonics of some fundamental component. The basal membrane found within the inner ear acts as a Fourier analyzer, or filter bank, splitting complex sounds into their 8 It is a well known phenomenon that learning a new language at an age past early choldhood will rarely lead to its correct pronunciation, given that the «audio-phonatory loop» is established in most part during the early of years of life. 12

18 component frequencies, which are then encoded for transmission to the brain. Problems in perception may be caused by anything affecting this pathway, including age (high frequency loss). The vast differences between sound PRODUCTION (waves, chord fractions) and PERCEPTION (logarithmic) are at the source of PYTHAGOREAN and ARISTOXENIAN 9 approaches in the study of intervals, as well as one of the main keys to facing up to today s «musicological issue» («μουσικολογικὸν ζήτημα») that has afflicted our Hellenic Sacred and Secular musical tradition. linearvs. non linear transformation input signal output signal linear non linear Although linear transformations can describe sound PRODUCTION quite conveniently, sound PERCEPTION seems to be better described by non-linear transformations, and should incite researchers not to confuse these two issues: they should proceed by comparing voice to voice, and not voice to instrument. Detection of integrated input signal Otoacoustic automatic missions system (OAE) Auditory brainstem evoked response system (AABR) Today s technological progress allows for quantification and localisation of sound, from its source of production, to its arrival in the brain (where it is perceived; 9 In spite of the fact that Aristoxenian intervals are defined by fractions as well as numbers without units. 13

19 internal environment, psycho-acoustics), to its eventual emission from the vocal cords, to its modulation by the external environment. Hearing: Functional description Journey of sound information signals within the nervous system final sound information perceived initial sound information heard comparison, modulation transduction final sound information perceived dependent variables non linear initial sound information heard recreation of sound almost linear control This vocal production (and even «reproduction» of what has been heard) can be controlled for fidelity by comparing it to various standards (using contemporary technology), while being accompanied by professional help (such as that of an orthophonist or an authentic master of psaltiki). 14

20 memory = neuron synapses Sound production/reproduction depends on a conveniently functioning audio-phonatory system, especially as concerns the initial years of life, where sound «information» is stocked in memory, by «mimetism (imitation)» of parents, teachers and environment, who also act as «external corrective controls», thus guaranteeing a high fidelity in this particular information s transmission from one generation to the next. Today s technology is of complementary assistance, especially in psaltiki, where a great number of «information data» have been lost during the last two centuries, due to reduction in the overall duration of instruction beside a traditional master, difficult to find traditional recordings, and saturation with truly «mutated» musical theories and recordings. B SOUND EDUCATION, MEMORISATION AND TRANSMISSION Signal Memory Control Mimetism Brain (central) Signal, stimulus (environment dependent variables Infant Child Contribution internal external controls Adult Psaltic memory transmission from one generation to the next requires that the younger generations show not only the WILLINGNESS to imitate their masters but, above all, to accept the latter s expert criticism and advice, which serves as an external control of transmission fidelity concerning a given tradition. 15

21 An experiment conducted at St. Andrews University revealed that, while children tried to tackle a puzzle without attempting to analyze it, chimps of the same age used logic and managed to solve it. The test shows that human children, even when given tasks that obviously have no meaning, follow the instructions given to them by the perceived authority figure, whereas chimpanzees are more pragmatic, and exclude the extraneous steps. This demonstrates a key distinguishing feature as concerns the human process of learning as compared to that of animals : humans learn by «slavish imitation». 10 The same applies to psaltiki, where those who try to «simplify» or even «contour» the natural human disposition to imitate masters, end up creating and transmitting aberrant psaltiki. Signal Memory Control Mimetism Signal, stimulus (environment Brain (central) ++++ dependent variables acceptance of control and MIMETISM without objection Infant Child Contribution internal external controls Adult The presence of a traditional master is an indispensable requirement, in that, whereas technological support detects isolated parameters, allowing for an independent variable analysis, a master allows for detection, comparison and immediate control of numerous inter-dependent variables. Such variables may be regrouped into complementary glyph notation categories of psaltiki and Gregorian chant, thus allowing a broader, more complete view of these chants, especially as concerns their use of «χρόνος». 10 A brief clip from National Geographic's «Ape Genius» documentary is presented here : video 1: [http://www.youtube.com/watch?v=piaojss9ix8] video 2: [http://www.youtube.com/watch?v=nhuagl7x5wc], and includes the comments cited above. 16

22 Strictly Classical Classical The art of psaltiki cannot, of course, be exempt of the theological tradition - both written and oral that it expresses. The various parameters constitute a «checklist» of correct psaltiki, and can be used for pædagogical reasons as well as for objective criticism of contemporary gross deviations from traditional chant. 17

26 B.03. INTERVALS B FREQUENCY VS. TIME SPECTRUM ANALYSIS ; FREQUENCY VS. LOGARITHMS Frequency (at time «t») Frequency vs. time time Technological progress has been revolutionised by audio spectal analysis, especially by the freeware «Sonic audion visualizer» (Queen Mary University of London), which allows objective visual representations of sound, such as frequency [Hz]) vs. time (sec); a third dimension - intensity [db] - can also be visualized. The «eternal» quantification divergence between sound production (chord fractions [frequency]) and sound perception (logarithmic tempered scale) units should be immediately resolved by using a COMMON unit of measurement, that of CENTS. 11 Indeed, discussions dating from antiquity to today s internet forums have been enflamed by debates arising from simple lack of precise definitions concerning each particular UNIT (μόριον) of diastematic measurement and how it is used. 11 [http://græca.mrezha.net/upload/montrealpsaltiki/gkm_pædagogical/epitropi%20vs%20chrysanthos%20cents%20comparis on%20001.doc] 21

27 frequency (συχνότης) [Hz (cycles/sec)] 4 th octave 1 st octave cents (relative logarith) UNITS («μόριον»): arithmetic vs. geometric, chord lengthvs. logarithmic temperament Principal notes same frequency different frequency different frequency logarithmic units: integers Principal notes same frequency Prinicipal notes FRACTION ratio of each note si ndividual length to the ENTIRE chord same frequency temperament IDENTICAL (constant) length ratio between each UNIT and its immediate neigbour LOGARITHMICALLY equidistant Tempered scales that have been described until now are usually referred to as APPROXIMATIONS of some chord fraction scale that serves as a prototype. Recent statistical comparisons of fractional vs. whole number logarithmic approximations thereof 12,13 include those of the 53 ET (compared to the Pythagorean diatonic scale) and 1171 ET scales (compared to Didymos natural scale) as well as that of the 1881 commission s 36 ET (or 72 ET scale; compared to the fractional scale it proposed). Another «example» of representing fraction scales consists of attributing to the 8/9 tone a value 12 logarithmic units, which leads to an overall scale of 70,6194 units (!) 14, thus motivating its authors to «round off» this number and define a totally 12 Dr. Παπαδημητρίου: πλησιεστέρα εἰς τὰ κλάσματα ἐστὶ ἡ κλίμαξ τῶν 1171 ἰσοδιάστατων μονάδων ὄσον ἀφoρὰ καθέκαστον τῶν διατονικῶν κλιμάκων τοῦ Διδύμου, Χρυσάνθου καὶ ἐπιτροπῆς 1881). 13 Δημήτριος Ἀνδριώτης [http://analogion.com/forum/showpost.php?p=40815&postcount=3] 14 Such propositions are indeed absurd, since tempered scales are constructed using integers! Furthermore, constructing a truly logarithmic representation of some fractional scale (70,6194 units corresponding to an octave) and then «rounding off» to some integer ET (70 ET and 71) is once again scientifically unacceptable. The correct method consists of first constructing tempered scales and only then comparing them statistically to existing fractional scales, as has been done in this presentation. 22

28 incoherent 71 logarithmic scale 15. There are also those who go through complex mathematical manoeuvres, just to end up «rounding off» values such as 8,5 to 9 and consequently present Chrysanthos tetrachord as containing only two types of intervals instead of three! 16 In some rare cases, ET scales have simply been defined as such (e.g. 12, 24, 64, 68 ET scales), without concern as to their relation to any given fractional scale, although some may insist that they may be used as an approximation of a given chord fraction scale. 108 cm 12 cm 96,0 cm Principal Notes 54 cm UNITS («μόριον»): arithmetic vs. geometric, chord lengthvs. logarithmic temperament 9/8 0 c 203,91 c 1200 c same frequency different frequency different frequency same frequency 108 cm 95,6 cm 54 cm 0 [ 68 ET ] ( 0 c ) 12 [ 68 ET ] (211,8 c) logarithmic units Principal notes 68 [ 68 ET ] ( 1200 c ) 0 cm Prinicipal notes: FRACTION ratio of each note s individual length to the ENTIRE chord same frequency 0 cm 0 cm temperament: IDENTICAL (constant) length ratio between each UNIT and its immediate neigbour; LOGARITHMICALLY equidistant In particular circumstances, a correctly functioning and well trained human ear can differentiate a pitch difference of as little as one cent. Nevertheless, an internationally accepted just noticeable difference (JND) of 5 cents will be used in this presentation as a cut-off point when comparing two different pitches. A typical error in contemporary psaltiki analysis consists of using progressive sound emission of scales to determine JND 17, leading some authors to claim that the Chysanthian scale 15 For a scale of (1/(LOG((9/8);2)))*12 = 70,61939 Units: Chrysanthos 12-8, ,444781; Didymos 12-10, ,575329; Commission 12-9, ,840964; Any «rounding off» requires FIRSTLY verifying that the calculated tetrachords can actually GIVE an octave scale (in other words, one must solve for TWO simultaneous equations, one for the tetrachord and one for the octave): a) for a tone of 12/71ET (202,8 cents), the following tetrachords give scales that cannot add up to 71 units (1200 cents) [ = 70/71ET or 1183,099 cents; = 72/71 ET or 1216,901 cents; = 74/71 ET or 1250,704 cents] b) a tone interval of 13/71ET (219,7 cents) can, indeed, give a coherent scale: : 71/71 ET, ; , etc Notice that such a scale requires a tone larger than that proposed by the Chrysanthian 68ET scale! Coherent 71ET intervals include the following, where a tone of 12/71 ET is not possible: [(21-3-1); (19-4-3); (19-5-2); (19-6-1); (17-6-4); (17-7-3); (17-8-2); (17-9-1); (15-7-6); (15-8-5); (15-9-4); ( ); ( ); ( ); (13-9-7); ( ); ( ); ( ); ( )]. Coherent 70ET intervals include the following, where a tone of 12/70 ET is indeed possible, yet concurrent coherency between such tones and the remaining intervals is not possible as concerns the fractional scale of Chrysanthos (i.e. regression analysis demonstrates that other scales show a «better fit») : (20-3-2); (20-4-1); (18-5-3); (18-6-2); (18-7-1); (16-6-5); (16-7-4); (16-8-3); (16-9-2); ( ); (14-8-6); (14-9-5); ( ); ( ); ( ); ( ); (12-9-8); ( ); ( ). 16 Ioannis Arvanitis, «On Chrysanthos Diatonic Scale» Part One, 2005, posted on the Psaltologion forum [http://analogion.com/forum/showpost.php?p=59032&postcount=239] [http://analogion.com/forum/showpost.php?p=59007&postcount=234] «Nevertheless, the ratios given by Chrysanthos can still be used and be transformed to correctly calculated kommata through the logarithmic method described at the beginning of this article. If we divide by definition the Meizon tonos in 12 (acoustically equal) kommata, then the ratios used by Chrysanthos give the 4chord which can be approximated by to give an octave of 72 kommata as usually.» 17 [http://athanassios.gr/byzmusic_diatonic_acoustic_comparison.htm] 23

29 contains insignificant differences as compared to that of the Commission. Unfortunately, such propositions are unfounded, given that a competent psaltis can detect errors of as little as 2 cents, and will obtain complete satisfaction only after such «faltso» 18 intervals have been corrected using contemporary audio edition programs. Therefore, the use of logarithms, as well as of the 1200 ET scale combined with a 5 cent JND, allow for various chord fraction and ET scales to be easily compared. UNITS («μόριον»): arithmetic vs. geometric, chord lengthvs. logarithmic temperament 108 cm 95,6 cm 0 [68 ET] ( 0 c ) 12 [68 ET ] (211,8 c) logarithmic units Principal notes 108 cm 0 [68 ET] ( 0 c ) 106,9 cm 105,8 cm 104,7 cm 103,7 cm (106,9)/(105,8) = 1, [68 ET] ( 17,6 c ) (105,8)/(104,7) = 1, [68 ET] ( 35,3 c ) (104,7/(103,7) = 1, [68 ET] ( 52,9 c ) 4 [68 ET] ( 70,6 c ) 54 cm 68 [68 ET] ( 1200 c ) 102,6 cm 101,6 cm 5 [68 ET] ( 88,2 c ) 6 [68 ET] ( 105,9 c ) 0 cm temperament IDENTICAL ratio for each neighbouring chord LENGTH unit: LOGARITHMICALLY equidistant 95,6 cm 100,6 cm 99,5 cm 98,5cm 97,5 cm 96,5 cm 7 [68 ET] ( 123,5 c ) 8 [68 ET] ( 141,2 c ) 9 [68 ET] ( 158,8 c ) 10 [68 ET] ( 176,5 c ) 11 [68 ET] ( 194,1 c ) 12 [68 ET] Tempered scales contain WHOLE numbers (integers), because they are derived from a geometric progression where the number of intervals per octave is defined from the very beginning. This geometric progression is based on the n th root of two (equal temperament), and is an exponential growth equation of this value over the octave interval. The notion of ET-like intervals existed ever since antiquity (although they were described using fractions), and ET intervals have been explored by such renowned scientists as Newton (17 th century). Today s electrical technology allows one to easily construct ET musical scales containing more than one thousand intervals, whereas scales of more than 100 ET units were difficult to construct using chords having lengths commonly used in string instruments, such as was the case until the 20 th century. Beyond the fact that ET scales vary in logarithmic manner - just like human perception of pitch -, they also allow one to define intervals that lie BETWEEN the PRINCIPAL notes as determined by fractional scales, where there is a lack of such intermediate intervals. B TRADITIONAL INTERVALS (CHRYSANTHOS VS. COMMISSION AND KARAS) The 1881 Commission attempted to approximate the fractional scale it had defined using empirical vocal vs. monochord experimentation, by comparing it acoustically to various ET scales, of which it chose the 36 ET (72 ET) scale. The only difference (211,8 c) 18 The term «faltso» is used in a large sense, and alludes to anything sounding wrong, be it in terms of intervals, chronos, vocalisations or any other psaltic parameter. 24

30 between the fractional scales used in psaltiki concerns the third chord of a pentachord system: 4/5 (Didymos), 22/27 (Al Farabi, Chrysanthos), 81/100 (Commission). Concerning temperament, the commission admitted to a well known fact that no TEMPERED scale could ever approximate such fractional scales EXACTLY, and that concessions were inherent. Statistical studies (least squares method) made by Dr. Pan. Papadimitriou and Panayiotis Andriotis offer a convenient way of determining the closeness of a given ET scale to some fractional scale it presumably approximates. In this presentation, a simple linear regression was used instead. It is unfortunate, however, that almost all psaltiki musical theoreticians have considered ET scales as a means of APPROXIMATING fractional scales, and not as a starting point for any given scale. This is the main reason why the Commission criticized the 64 and 68 unit scales of Chrysanthos disdainfully, and went on to propose its 72 ET scale as well as the «Joachimian ὄργανον», an instrument that could produce these intervals and, as such, was presented as being an «appropriate pædagogical tool». It is further unfortunate that the 72 ET scale shares many similarities with the Occidental 12 ET scale, constituting a point that was immediately criticised by Panayiotis Kiltzanides, himself a member of the Commission. 19 The Commission s fractional scale distanced the upper third from the lower third in each pentachord of the fractional diatonic scale ([Βου-Δι]: 337 cents and [Νη-Βου]: 365 cents), and even more so in its 72 ET scale (([Βου-Δι]: 333 cents and [Νη-Βου]: 367 cents). It is not surprising, therefore, that the «διφωνία system» (system by equal thirds: 356 cents) is not even mentioned by the Commission, or that it is not accepted by later authors, including Karas, even though the so much cited musicologists Bourgault-Ducoudray and the lesser so père J. B. Rebours did point out its existence in brief representations of Chrysanthos Great Theory Manual, and presented it with logarithmic values proportional to the occidental 12 ET scale. This system has been analysed in the excellent works of Charalambos Simmeonides and Evangelos Soldatos, with mathematical and audio sample examples. A further «inevitable» consequence of the 72 ET approximation was the reduction of the 8/9 tone (204 cents) to 12/72 ET (200 cents), as well as the reduction of the perfect fifth [2/3 (702 cents)] to 42/72 ET (700 cents), making these, as well as most other 72 ET intervals, completely IDENTICAL to the occidental 12 ET scale. 19 «ΠΡΟΣ ΛΥΣΙΝ ΤΟΥ ΖΗΤΗΜΑΤΟΣ ΤΗΣ ΜΟΥΣΙΚΗΣ ΤΗΣ ΟΡΘΟΔΟΞΟΥ ΑΝΑΤΟΛΙΚΗΣ ΕΛΛΗΝΙΚΗΣ ΕΚΚΛΗΣΙΑΣ», Constantinople, Non accentuated, electronic version: [http://graeca.mrezha.net/upload/montrealpsaltiki/001_psaltic_books_ocr/kiltzanides_001_corrected_gkm_atonon_a.htm] Accentuated, image version: [http://græca.mrezha.net/upload/montrealpsaltiki/000_psaltic_books_png/gkm_2101_kiltzanides_diatrebe_1880_nw.pdf] 25

31 CHRYSANTHIAN unit : length or logarithm? 9/108 cm vs. 9/68 logarithmic units According to all the critics of Chrysanthos work, either he supposedly wrote 9 instead of 8 (!).. 20 The motivations for such a «correction» as provided by the Commission may be attributed to differences in definitions or even misinterpretations thereof, as far as the truly academic work of Chrysanthos is concerned. Furthermore, occidental transcriptions offered by its president, Archimandrite Germanos Afthonides, to French musicologist Louis Albert Bourgault-Ducoudray, show that Afthonides musical aspirations were more occidental-oriented, and less inclined towards traditional pædagogy. 21 Just like most theoreticians succeeding Chrysanthos, so, too, did the Commission ASSUME that the Chrysanthian 68 units were an APPROXIMATION of the fractional scale he had proposed, that these units were NOT logarithmic and that he had made an elementary school error while multiplying fractions, thus obtaining 9 Chrysanthian unit (CU) intervals instead of 8 CUs. This last point has been countered by Ch. Symmeonides, who proposes that the CUs correspond to the number of centimetres when starting, for each individual interval alike, from the outer extremity of a 108 cm chord 22. This proposition suggests that Chrysanthos was NOT describing the expected 8 cm separating Πα from Βου (i.e. from 96 to 88 cm on a 108 cm chord [354,55-203,91= 20 The scale presented here is that of «ζυγός», using the fractions provided by Chrysanthos, where the lower pentachord is that of the diatonic scale. The diatonic scale with similar tetrachords, as calculated from the lower diatonic tetrachord, is the following : 1 (0,00); 8/9 (203,91); 22/27 (354,55); ¾ (498,04); 2/3 (701,96); 16/27 (905,87); 44/81 (1056,50); ½ (1200) 21 Louis Albert Bourgault-Ducoudray «Études sur la musique ecclésiastique grecque: mission musicale en Grèce et en Orient janvier-mai 1875»; «Traduction d'un abrégé de la théorie de la musique byzantine de Chrysanthe de Madytos [par M. Ém. Burnouf]»: pgs. [79-127] ; Hachette et Cie, Paris, Electronic version (with automated Hellenic translation). [http://græca.mrezha.net/upload/montrealpsaltiki/001_psaltic_books_theory/gkm_decoudray_00_all_final_05_table_fr_gr _auto.htm] 22 Dimitrios Makrakis, who expresses himself elogiously concerning Karas, also provides such a solution, but does so while mentionning a «70,6» ET octave scale! «Σίγουρα επίσης φαντάστηκε ότι τα 9 μόρια του ελάσσων τόνου δεν θα ήταν ακριβώς τόσα - αφού αλλάζει ανάλογα σε ποιο σημείο του οργάνου θα τοποθετούταν το δεσμός - σκέφτηκε όμως ότι στην ανοικτή χορδή θα είχε τα πιο αξιόπιστα αποτελέσματα που θα μπορούσε. Όντως είδαμε ότι για 12 μόρια μείζων τόνο έχουμε οκτάβα 70,66 μόρια και τόνο ελάσσονα 8,86 μόρια πράγμα που δίνει δίκαιο και λογική στον Χρύσανθο να επιλέξει το12 προς 9 αντί του 12 προς 8 στην σχέση των δυο μεγάλων τόνων.» [http://pandoura.gr/index.php?option=com_content&task=view&id=66&itemid=116] 26

32 150,64 cents) but, rather, this very same number of cents (150,64 cents), as they may be obtained from the outer extremity of a fixed chord (from 108 to 99 cm on a 108 cm chord, that is 9 cm. Unfortunately, the 7 CUs of the Bou-Ga fractional scale (88/81) correspond to an interval of 143,49 cents, given by 8,59 cm from the open end of a 108 cm chord (108/[99,401]; 143,49 cents). Overall, attempts to explain the Chrysanthian unit scale have until now lead to treating his method as either erroneous or incoherent. CHRYSANTHIAN unit : length or logarithm? 9/108 cm open end vs. 9/68 logarithmic units... or he... supposedly counted units from an open end chord 150,6 centsvs. 158,8 cents 23 The «best fit» possible for the Chrysanthian fractional scale is presented in part below, in descending order, according to the linear regression (LR) statistic (column 18). Intervals corresponding to large major tones, large thirds (Nη-Bου) and extended fifths are coloured in orange (column 11), green (column 12) and pink (column 14), respectively. Large (Bου-Δι) thirds are coloured in light yellow (column 19). Total number of ET intervals per octave scale are shown in column 2, and tetrachords containing three different intervals are shown from columns 3 to 6. Within the range of 7 to 100 ET scales, the best fit is provided for by the 94ET scale, and interesting scales include the following: 70ET4, 53ET6, 72ET23 and 68ET41 (the subscript corresponds to «best fit» rank; e.g. 72ET23 is in 23 rd position). A look at the complete table shows that a 71ET cannot provide satisfactory intervals, it s best fit corresponding to position 82 (71ET82: , with a tone at 186c, and fifth at 879c). 23 The scale presented here is that of «ζυγός», using the fractions provided by Chrysanthos, where the lower pentachord is that of the diatonic scale. The diatonic scale with similar tetrachords, as calculated from the lower diatonic tetrachord, is the following : 1 (0,00); 8/9 (203,91); 22/27 (354,55); ¾ (498,04); 2/3 (701,96); 16/27 (905,87); 44/81 (1056,50); ½ (1200) 27

38 Chrysanthian unit suppose log chord length similarities are a mere coincidence : practice, however, JUSTIFIES use of LOGARITHMIC Chrysanthian scales 9/8 (203,9 c) (211,76 c) /3 (701,96 c) 40 (705,88 c) 700 increased TONE as well as PENTACHORD Principal notes are FRACTIONS of a given chord temperament =? APPROXIMATION??? 68 units : LOGARITHMICALLY equidistant ie cents In contrast to the various hypotheses mentioned thus far, acoustic experience of interval experts such as Andriani ATLANTI added to personal research and learning beside truly traditional psaltis, has led the author of this presentation (AOTP) to interpret the 64 and 68 CUs as LOGARITHMIC units, much in the way it was understood by the clergyman J. B. Rebours 24 in the turn of the 20 th century. This is corroborated by values measured from recordings of traditional psaltis where intervals such as a) diatonic Νη-Πα tones are found to be LARGER than natural in melodic passages where there is no doubt as to the absence of some «attraction», b) large similar diphonic intervals (Symmeonides, Soldatos). As if the abolishment of such fundamental intervals did not suffice, the Commission opted for a tempered scale that UNDERESTIMATES the perfect fifth (700 instead of 702 cents), which is contrary to vocal tradition, especially psaltiki, where fifths are LARGER than natural. 25 Although there exist fractional scales that can account for the first two observations (e.g. Ptolemy s soft diatonic tone [7/8: 232,2 cents]; Chrysanthos diatonic scale for a close approximation of the «ὅμοια διφωνία» system), neither the Commission nor the much contested Simon Karas (who provides descriptions with an «accuracy» of ¼ unit within a scale of 72 units!) ever provided descriptions of ALL three aforementioned phenomena, which are observed quite systematically in audio samples of truly traditional psaltis such as Iakovos Nafpliotis. Nevertheless, if the 64 and 68 Chrysanthian unit scales were to be considered as logarithmic, they do, in fact, provide a satisfactory description of these three phenomena. This leads to the assumption that Chrysanthos, being a very knowledgeable man, could have been 24 Père J. B. REBOURS «Traité de psaltique : théorie et pratique du chant dans l'église grecque», éditions A. Picard & fils, Paris,1906. Image PDF: [http://græca.mrezha.net/upload/montrealpsaltiki/001_psaltic_books_theory/rebours_psaltiki.pdf] 25 According to Andrea ATLANTI, this exists as well in occidental classical music. In fact, her teacher, Albert SIMON, musicologist as well as conductor of the Franz Liszt Academy of Music Orchestra in Budapest, considered this a very important element of correct musical performance. 33

42 Chrysanthian unit : let us suppose it is a logarithm! Could these units correspond to a FIRST order approximation of some LOGARITHM function, using a Taylor series expansion? ln z = - (1 - z) - [((1 - z)^2)/2] - [((1 - z)^3)/3] - [((1 - z)^4)/4]+ ln 8/9 = - (1-8/9) - [1/2((1-8/9)2)] - [1/3((1-8/9)3)] - [1/4((1-8/9)4)]+ Chrysanthian unit : let us suppose it is a logarithm! ln 8/9 = could these units correspond to a FIRST order approximation of some LOGARITHM function, using a Taylor series expansion? level of approximation 1 st 2 nd 3 rd ln z = - (1 - z) - [((1 - z)^2)/2] - [((1 - z)^3)/3] - [((1 - z)^4)/4]+ - (1-8/9) - [1/2((1-8/9)2)] - [1/3((1-8/9)3)] - [1/4((1-8/9)4)]+ α β γ true log ======================= order of approximation scales of up to 100 logarithmic units, containing intervals of approximately 210 cents, 705 cents as well as 350 cents Taking into account that string instruments during the time of Chrysanthos of even up till the mid-20 th century could not easily produce ET scales of more than 100 ET units on chord lengths of approximately one meter, it is worthwhile noting 37

43 that there are a number of scales 100 ET 28 that provide intervals consistent with at least one of the aforementioned interesting observations concerning vocal psaltic tradition : [tone ( 205 cents), third 350 cents and extended pentachord beyond 705 cents], and include the following: 17, 51, 57, 57, 58, 64, 68, 70, 74, 77, 77, 78, 80, 81, 81, 85, 87, 89, 89, 92, 94, 95, 96, 96, 97, 98, 98, 99). Logarithmic scales among the previous selection, containing tone > 210 cents, pentachord >705 cents and διφωνίαν > 350 cents rejected as concerns the diatonic scale, because no distinction between «small (ἐλάσσων)» and «smaller (ἐλάχιστος)» intervals rejected because of an incompatible major tone a large THIRD (diphonia) Δι-Βου is difficult to find in this group of tempered scales... not ONE scale satisfies ALL three conditions; interesting scales include -diphonic: 51 ΕΤ (9,6,6) and 64 ΕΤ (12,7,7) - diatonic: 68 ΕΤ (12,9,7) However, none of these scales satisfy all three conditions - either because they completely equate ἐλάχιστος (smallest) and ἐλλάσον (smaller) tones (π.χ. 17, 51, 58, 64 ET scales) - or because such scales are incompatible with the corresponding large tone (57, 74, 77, 81, 89, 96, 98 ET scales). 29 Therefore, given that no one ET scale can conveniently account for the three aforementioned traditional psaltic phenomena, it seems that only the two supposedly ET scales provided by Chrysanthos can provide an appropriate description: the 68 ΕΤ insufficiency in conveniently describing the system of similar thirds (335 cents vs. > 350 cents) is compensated by the 64 ΕΤ scale ([12+7]/64 = 356 cents), which is overall closer to the expected value of 354,8 cents, as compared to his fractional scale using Δι-Βου (11/9 = 347,408 cents) and Νη-Βου (27/22 = 354,547 cents). 28 Plausible yet coherent scales of up to 100ET, containing three DIFFERENT intervals, obtained using the following conditional mathematical equation: a) 3A+2(B+C)=1200 cents; using b) three different intervals A>B>C are presented in the appendix. 29 The simultaneous mathematical equations and various conditions are as follows : a) three different intervals A>B>C ; b) 3A+2(B+C)=1200 cents c) A>205 cents, 3A+(B+C) > 704 cents d) A+B and B+C > 350 cents 38

45 mathematical calculations before concluding as to the practical absurdity of such a proposition, as theoretically sound as it may appear! Assuming Karas is dealing with logarithms, his [3 ¼] /72 ET units then correspond to = 54,167 cents that is [2^((3,25)/72)) = 104, cm on a 108 cm chord= 0, ] [ =approximately437/446 = 0, ] An accurate positioning of such an interval is possible using contemporary electronic devices, yet quite unachievable using some monochord. In fact, one would have to proceed as follows: α) obtain a division of some chord into 446 LINEARLY equal parts, and then strike upon the 437 th division so as to obtain a fractional APPROXIMATION of 54,167 cents or b) obtain an ET division of some chord into (72 x 4) = 288 logarithmic parts, and then strike upon the (3¼ x 4) = 13 th division so as to obtain exactly 54,167 cents. Meanwhile, one must keep in mind that ¼ unit of a 72 ET scale corresponds to the following outmost and innermost chord distances = (108 cm) x {[(2^(0/288))^(-1)]-[(2^(1/288))^(-1)]} = 0,26 cm = 2,6 mm and = (108 cm) x {[(2^(287/288))^(-1)]-[(2^(288/288))^(-1)]} = 0,13 cm = 1,3 mm that is, distances that are smaller in width than that of even a baby s fingertip! The following possibility c) obtain an ET division of some chord (e.g. of 108 cm length) into (72 x 4) = 288 logarithmic parts, and strike ¼ the distance between the 3 rd (104,925 cm) and 4 th (103,920 cm) divisions [104,925 cm]- ¼[104,93-103,92] cm =104,674 cm is scientifically unacceptable, in that it combines logarithmic and linear units, even though, in practice, the result obtained on a 108 cm chord (104,674 cm) is, coincidently, almost identical to that obtained from the 288 ΕΤ scale (104,673 cm) The phenomenon of large tones and extended pentachords is not limited to traditional psaltiki, but is heard in other vocal traditions as well, such as in recordings as geographically and temporally distant as late 1800 s audio samples of American Indians. Even in occidental music, a capella singing often brings out such intervals, in contrast to orchestral accompaniment. It is a well known phenomenon to older generation occidental classical music specialists that fifths sound better if «enlarged» beyond their «just» value 30. Finally, many non occidental instrumentalists (Chinese, Arab, Hindu) apply this «expanded» fifth phenomenon. However, the similar thirds system seems to be a Hellenic vocal phenomenon, and is 30 See footnote above, concerning Hungarian orchestra conductor Albert SIMON 40

46 hard to find in instrumental music. Frequency vs. time and intensity vs. time can be conveniently explored and quantified using freeware such as «Sonic Visualizer». Although intervals such as the «enlarged» tone are treated as «dissonant» when sounding simultaneously with the note directly below, this is often well accepted, especially in psaltiki, where the vocal harmonics and vocal variations «homogenize» errors, leading to a truly praying sound, where the «ἰσοκράτημα» needs not be changed (especially as concerns plagal fourth mode, with «ison» on Nη while melody is on Πα). B SPECTRAL ANALYSIS : CALIBRATION, CONTROLS, MEASUREMENTS, CONFIDENCE INTERVALS, CALIBRATION INTERNAL CONTROL Electronically Emitted Δι Natural harmonic of Νη: Perfect fifth (internal control)... Δι 701,95 cents «Basis» Νη considered as 0 cents Electronically Emitted Νη Δι 701,95 cents... during an electronic emission of Νη In the following samples, analysis is limited to frequency vs. time plots. Any scientifically reliable measurement must at least be calibrated, contain controls, and provide confidence intervals. Internal control is facilitated by the fact that all sound contains harmonics, which are positioned according to well defined fractions, including just intonation fractions. Such harmonics may be considered as either «expected» or «reference» values to which other frequencies can be compared. Harmonics are therefore ideal for «internal control» and can comfort the user that measurements are being made conveniently. Calibration and determination of confidence intervals were obtained using emissions provided by an electronic device. Vocal intervals were determined using the most visible harmonics. Vocal intervals such as internal control «harmonic fifths» were also compared to harmonics of neighbouring pitches differing by one fifth on the music score. 41

47 vibrato (διακύμανσις ἦχου) upper-lower limit difference (variation) = 76 cents In this audio sample produced by an electronic synthesizer imitating human male vocals, vibrato has a range of 76 cents. One can use a number of methods for measuring this sample, one of which is simple as well as reliable. Based on research results claiming that the human ear perceives pitches as being somewhere in the middle of a vibrato 31, measurements were taken at such «middle» located frequencies, and were eventually quickly checked, compared and validated by an expert using another method, where measurements are made using harmonics of a given sample as well as complex algorithms 32. Measurement and calibration 10 measurements (Hz): error < +/- 5 cents! 275,974; 276,405; 275,974; 276,405; 275,544; 275,974; 275,544; 276,405; 276,405; 275,974; Mean 276,06 Std Dev 0,34 +/- 2,13 Cents +/- 2,72 Cents Median 275,97 Max/Min 0,43 C. Brown; K.V. Vaughn (September 1996), "Pitch Center of Stringed Instrument Vibrato Tones" (PDF), Journal of the Acoustical Society of America 100 (3): , doi: / ,; Given that «Sonic Visualizer» provides DISCRETE («quantized») frequency measurements, no averaging was necessary for individual samples. Confidence intervals were thus calculated according to the calibration sample, using a statistical 31 J.C. Brown; K.V. Vaughn (September 1996), "Pitch Center of Stringed Instrument Vibrato Tones" (PDF), Journal of the Acoustical Society of America 100 (3): Link: [http://dx.doi.org/ %2f ]; PDF (retrieved on ) [http://www.wellesley.edu/physics/brown/pubs/vibperf100p1728-p1735.pdf], 32 Kyriakos Tsiappoutas ; first author of: Kyriakos Tsiappoutas, George E. Ioup, and Juliette W. Ioup Dept. of Phys., Univ. of New Orleans, New Orleans, LA Measurement and analysis of Byzantine chant frequencies and frequency intervals, J. Acoust. Soc. Am. Volume 116, Issue 4, pp (October 2004). 42

48 analysis of 10 measurements. A value of +/- 3 cents (equivalent to a range of 6 cents) was retained, which is overall very close to the usual 5 cents JND value. Accuracy determination using various electronically emitted frequencies «Basis» Frequency Cents Expected value Difference (Cents) Difference (Cents) 276, , , , ,8 276, , , , ,9 276, , , , ,0 276, , , , ,0 276, , , , ,1 276, ,73 204, , ,8 276, ,974-0, , ,5 During calibration and accuracy determination, all measurements presented differences smaller than 5 cents as compared to synthesizer-produced standard frequencies and, in particular, all differences were less than 2,5 cents, except for one. Comparison of measured sound samples UNACCEPTABLE Although emitted frequency ranges may overlap (green boxes)... CONFIDENCE INTERVALS must NOT overlap if frequencies are to be considered as DISTINCT ACCEPTABLE When COMPARING samples, it is important to differentiate range of vibrato from confidence intervals (statistical calculation): although value overlap is permitted in the former case, it is not permitted in the latter. 43

50 Internal controls include measuring various harmonics (octave at 1199 cents vs. expected 1200 cents; upper Βου, harmonic of «ἰσοκράτημα» Κε at 697 cents [close to expected 710,96 cents]). Another particularity of this choir is that FVV perform an octave (or fourth from Κε) at 1169 cents that is 31,4 cents below the expected value of 1200 cents, and equivalent of approximately 2/72 ET (33,4 cents). This is an excellent example of theory vs. practice, where a number of psaltis would admit to some lowering of this pitch, eventually in the order of a theoretical 2/72 ET (33,4 cents). Nevertheless, upon hearing the result, they all agree that this is far too low. Initial experiments have shown that «accidents» beyond 20 cents applied to similar cases sound awful to a trained psaltis. In this particular case, the authentic patriarchal tradition does not admit to any accident, as is shown in the following performance by Iakovos Nafpliotis. B «Δεῦτε λάβετε φῶς» : IAKOVOS NAFPLIOTIS Δεῦτε λάβετε ΙΝ - ΚΠ In contrast to the preceding anomalies derived from Simon Karas teachings, Iakovos Nafpliotis (accompanied by Konstantinos Pringos) chants an extended fifth (725 cents). On the other hand, the octave remains intact (1203,3 cents), and differences are compensated by fourths lowered by up to 27 cents. Tones are larger than 211 cents (214,3 and 217,5 cents), and upper Βου is at a pitch equivalent of Κε in a system of fifths («τροχός»). All internal controls remained within 5 cents (JND) as compared to expected values. Chanted waveforms are circled in yellow, whereas harmonics are circled in red. 45

52 musicologists. Marika Franzeskopoulou from Constantinople, who was of Hellenic descent, also used extended fifths and >210 cents tones, as did lyra player Lambros Leontarides. 33 Furthermore, Marika performed highly traditional, patriarchal style «χρόνος alternations» and «attacks» («glissando» or Gregorian chant «pes»), that is, highly technical modulations that cannot be found in other contemporary masters, such as Roza Eskenazi, who was of Jewish descent and had learned Greek during late childhood. 34 In other words, one must have heard all such parameters ever since an infant age and from traditional masters, before being able to imitate and reproduce them correctly. B CRITICISM OF FOTOPOULOS ET AL. INTERVAL DETERMINATIONS Φωτόπουλος Κ. et al. Συγκριτική μελέτη των μουσικών διαστημάτων σε ηχογραφήσεις βυζαντινών μελών παλαιών διδασκάλων Φωτόπουλος Κώστας 1 = Μουσικός Βασίλης Πιτσιλής 1 = Μουσικός Φωτόπουλος Σπύρος Μουσικός-Ερευνητής Μουσικός-Ερευνητής Σπύρος 2 = Καθηγητής = Professor department of Physics University of Patras free distribution of «research», «method», results and «conclusions», from the «Ομιλος Ελληνικών Τεχνών», Research on psaltic intervals has been attempted by other authors, and their «methodology» allows one to classify them into two categories: a) on one hand, those who admit to a number of technical difficulties in using algorithms (Kyriakos Tsiappoutas) and those preferring to use simpler frequency vs. time representations (Charalambos Symmeonides), all in adding internal controls (present method). b) on the other, those who present results in various symposiums, whose methods can easily be considered as a mocking of fundamental scientific principles (of which they are representatives and teachers!), and who attempt to either justify Karas 33 Μαρίκα (Μαρία) Φραντζεσκοπούλου «Πολίτισσα», Λάμπρος Λεονταρίδης «Her Yer Karanlik» «Ὅλα τὰ μέροι σκοτεινὰ» (1929) Odeon Germany GA-1435 GO video: [http://www.youtube.com/watch?v=exdcneaavfq] discography : [http://elkibra-rebetisses.blogspot.com/2008/03/marika-frantzeskopoulou-politissa.html] 34 Excerpts of Roza Eskenazi s performance of the same song, as well as that of other Greek and Turkish performers. video : [http://www.youtube.com/watch?v=92r5mjmcxq8]. Roza Eskenazi s performance less parameter variations as compared to that of Marika Frantzsesopoulou. Also, some Turkish singers use slow-sloped attacks, herewith called «Turkish flute imitation» («φωνητικὴ Τουρκικο-αὐλομίμησις»), which give a «sensual» effect to their performances. 47

53 theory or provide «psychological» analyses for such gigantic figures of psaltiki as Iakovos Nafpliotis all in comparing his chanting to some papyrus. Φωτόπουλος Κ. et al. Αποτελέσματα (!!!!!!!) Τροπάριο «Μη αποστρέψεις» Ιάκωβος Ναυπλιώτης. Ήχος πλάγιος του τετάρτου. Γραμμόφωνο Νότα Νη Νότα Πα Νότα Βου δι γα βου Νότα Γα πα Νότα ι νη Concerning the recording of «Μὴ ἀποστρέψης» chanted by Iakovos Nafpliotis and Konstantinos Pringos, Fotopoulos et al. omitted to explicitly underline a gradual change in pitch of approximately 55 cents from a Νη initially at 307 Hertz to that of 317 Hertz, according to the measurements of this presentation s author (measurement obtained from another audio sample of the same recording). The reason for this difference may be due to a continuous deceleration during the recording, or acceleration upon playback (in which case, background noise would also change pitch) or, more likely, due to the usual pitch upheaval tendency of Pringos who, ever since a younger age, would present difficulty in stabilising his pitch, especially following melodic pauses. Fotopoulos et al. did not present any pitch that resembles those found by Charalambos Symmeonides or the author of this presentation (AOTP), at least, as concerns the interval of Νη-Πα: even if the overall pitch shift is to be corrected for so as to make initial and final «βάσις» correspond, the greater than 210 cents tone and extended pentachord continue to persist in Iakovos interpretation. Φωτόπουλος Κ. et al. «Και ευλογημένος ο ερχόμενος» Θρασύβουλος Στανίτσας Ήχος πλάγιος του πρώτου Vinyl record. Νότα Πα samples Νότα Βου Results (!!!!!!!) Νότα Γα Νότα ι δι γα βου πα 48

55 GKM: Which (from all) «stable» conclusions on Νη?!!!! Δι (harmonic of Νη melody = internal control) 404,852 Ηz 414,136 Ηz 422,434 Ηz 701,6 c 701,6 c 706,5 c 269,952 Ηz 276,142 Ηz 280,878 Ηz Νε Nη (βάσις) ἀποφάσεως δόξα Σοι. 269,952 Ηz 0 cents 276,142 Ηz + 39,3 c 280,878 Ηz Concerning Constantinos Pringos interpretation of «Ἤδη βάπτεται κάλαμος», Fotopoulos et al. hastened to prove that his «ἀναλύσεις (developments)» could be described by the presumptuously re-introduced and re-defined palæographic neumes as per Karas, all in failing to underline such serious insufficiencies and biases as a) the lack of internal controls and calibration, as well as the lack of external controls, such as that of a psaltiki master who would have assisted in conveniently discriminating between various intervals. b) sampling an «attraction» in the syllable «Ἤηηηηη» of the word «Ἤδη», within a temporal space presenting two significant «biases» - the basis of Νη rises immediately following the «ἀπήχημα», thus creating a zone of overall «pitch readjustment», within which Pringos chants a continuous glissando. Even though such a glissando may exist in other situations, neither Pringos, nor the four psaltis of Thessaloniki chanting under his supervision, nor Iakovos, nor Tsolakidis, nor any other traditional psaltis ever chanted it as such in this particular melodic line, with this particular syllable. - the initial «continuous glissando» as chanted by the pitch shifting Pringos does NOT provide a satisfactory sampling zone, given that there is no net stabilization of any given pitch, as can be found elsewhere. + 68,7 c 50

57 Such a great difference in INTERVALS among three generations of Patriarchal Psaltis? [72 ET] (1200 cents) Γα- ι ΙΝ 13,29 (221.4 c) ΚΠ 12,6 (209,9 c) ΘΣ 12,20 (203,4 c) Correct Incorrect Βου-Γα 6,46 (107,6 c) 8,1 (135,3 c) 8,94 (149,1 c) Choice of sample (External control?) x Πα-Βου 10,42 (173,7 c 7,7 (127,6 c) 9,63 (160,6 c) Measurement (Internal control?) x Νη-Πα (203.9 c) 15,2 (253,5 c)???!!! (??!! c) Statistical analysis x Source (!!! ) As if such overlooked items did not suffice, Fotopoulos et al. also violated fundamental statistical principles, thus arriving at such aberrant results as a table of intervals where three generations of patriarchal psaltis are described as if chanting extravagant «personal» variations of the diatonic scale! The proposed results are in complete contradiction with expert psaltis opinions that Stanitsas was very traditional as far as intervals are involved and that he chanted them quite similarly to Iakovos, the main exceptions being that, while in Athens, he progressively lowered the lower Κε in the hymn «τὸν Δεσπότην», and that he would chant a «κλιτόν-like» Νη-Ζω-Κε in heirmologic plagal fourth mode. It would be interesting to close this chapter concerning musicological research on intervals as it is carried out in Greece, by asking the following questions: Which international journal would accept such a «statistical analysis» of data? Wouldn t the international scientific community react against the lack of controls and calibration, the biased sample selection without any psaltic master s expert advice, the lack of confidence intervals and, above all, the use of an average mean on data that are not distributed according to a normal curve, and for which no normalization procedure of any kind was performed? Influence of «Theory» upon STANDARDISED scientific method? Δ Βου Δ Βου =1200*log 2( ([159,29]/ [171,96]) 132,5 c!!!! 8 [72 ET]!!! 52

58 Such a statistical analysis error leads the reader to the erroneous conclusion that Stanitsas was attempting to chant a SIMILAR ΒΟΥ at all instances, and that he was so «unstable», so as to chant this very ΒΟΥ at frequencies as different as 159,29 Ηz and 166,83 Ηz, i.e. extending over a range of 132,5 cents (8/72 ET]! Had Fotopoulos et al. wished to «establish» that Stanitsas was chanting some sort of intervals or «attractions» according to Karas speculations, they should have analysed their samples according to smaller frequency range groups under normalized conditions. Finally, it is not clear why they omitted presenting important intervals such as the Νη-Πα and Δι-Κε tones, given that they are fundamental constituents of any scale as well as discussion on pentachords and «προσλαμβανόμενος φθόγγος». All in all, any research methodology that does not adhere to fundamental scientific principals including satisfactory statistical analysis, allows one to link any audio sample to almost ANY theory, especially that of Karas, where an abundance of intervals can be found. B INTERVALS : SYSTEM BY IDENTICAL THIRDS (Ὅμοια διφωνία) (System of) Identical thirds Concerning the possible intervals of similar thirds, the works of Symmeonides and Soldatos are of great interest, and may be complemented by a table of scales that also take into account their simultaneous belonging or not within an octave system (lower-upper Νη interval of 1200 cents or other than 1200 cents). The Golden Ratio octave scale is obtained by solving two equations with two unknowns: A/B=((1+((5)^(1/2)))/2) and 3A+4B=1200c; A= 219,3c; B=135,5c; third=354,8c; fourth 490,4c; fifth 709,6c; It is quite interesting to compare these values (fourth scale from the left) to those of Chrysanthos supposed 64ET scale (third scale from the left): A=225,0c, B= 131,2c; third=356,3c; fifth 712,5c; 53

59 B IAKOVOS : DIPHONIC SYSTEM In the following samples, one notes diphonic system intervals in the piece «τόν Δεσπότην», chanted at a slower tempo as opposed to intervals closer to the fractional scale in a quicker tempo second mode audio sample. As indicated elsewhere, intervals can change according context, and this includes tempo. Correct intervals are learned by chanting along a master using «παραλλαγὴ» (solfeggio) at a very slow tempo. Example 1: slow tempo «τόν Δεσπότην» Iakovos Nafpliotis, Kon/nos Pringos: separate recordings, «Ton Despotin» 54

68 B THEOLOGY OF INTERVALS Traditional psaltic intervals had been transmitted all the way to Iakovos not only due to «mimetism», but also because of their psycho-acoustic effects, linked as well to theological principles. Νη-Πα, Δι-Κε, fifth, «προσλαμβανόμενος» and «διαζευτικός : large, imposing and «resurrectional». «διαζευτικός» = always large 35 «προσλαμβανόμενος»= large 36 thirds (especially those starting from Νη and Πα) : «supplicative» fourths (especially those starting from Νη and Πα) : «offering» B INTERVAL VARIATION ACCORDING TO OTHER PARAMETERS Psaltiki intervals are not «fixed» as if played by some midi file tuned to a unique scale. Intervals may vary according to the following parameters: a) tempo : slower tempo brings out the true «pædagogical» intervals. Quick tempo tends to «condense» intervals. The most well known example is that of first mode heirmologic, where the Δι-Γα-Βου of most psaltis tends towards the «κλιτὸν» when psaltis chant canons in fast tempo. The Ἐπιτροπὴ annotated this as an «ἕλξις» («attraction»), whereas it is a phenomenon mainly due to vocal predisposition and concentration: well trained psaltis will barely make changes to the slower tempo intervals, whereas others will do so more. b) syllables : slow tempo «παραλλαγὴ» (solfeggio) will bring out the best intevals, simply because the psaltis has associated musical memory to particular syllables c) words : some words can be rendered more «supplicative», if they are at a maximum pitch within a musical line, and if this pitch is to be reduced by at most 10 cents. Traditional psaltis barely go to this limit. d) duration : very brief durations at melodic maxima are usually performed much higher, the classical case being the «Βου» of plagal second mode. Starting from «Πα», an «ὀλίγον» with «γοργὸν» and «ἀνατίναγμα» («ἀντικένωμα») is usually performed as if the «γοργὸν» had two dots on its left, with «Βου» a bit higher than in «παραλλαγή». It thus becomes quite evident that one cannot depend on live church recordings to establish scales. In Iakovos pædagogy, intervals are stabilised by performing slow tempo «παραλλαγή» at unitary and divided «χρόνος». A number of fine adjustments are then made for the ecclesiastical performance, yet they are few and of minute range. Efforts to annotate them on scores are futile, and the aberrant singing of those who attempt such an approach is quite manifest, since they force themselves to 35 dixit Paschalides to Andrea ATLANTI 36 dixit the great uncle of Kyriakos Tsiappoutas, psaltiki master in Cyprus. 63

69 perform non-natural intervals, with exaggerated differences as opposed to traditional psaltis. Such minute differences remain unperceivable to the untrained ear, an it is for this reason that the occidental world has become convinced as to the «traditional singing» of various modern musicology-oriented singers and their choirs, who perform what are truly «faltso intervals» in unison. Occidental applause has allowed such aberrations to enter the Orthodox Church analogions and completely destabilise our psaltic heritage. 64

70 B.04. FIDELITY OF TRANSCRIPTION AND COPYING Concerning the fidelity of transcription, it is of capital importance that re-editions be verified for any additions/omissions/alterations of various glyphs (such as dots [«στίξεις»] on «γοργόν», bars and numbers for rhythm, «μαρτυρία» appendices), usually in an effort to bring the theory and approach of some traditional author in the vicinity of some novel, completely foreign theory, namely that of Karas. (1) ADDITION of ison pitch specifications («DRONE»); (2) REMOVAL of «dots beside γοργόν» = «παρεστιγμένον», (although typographically POSSIBLE), leading to ISOCHRONOUS vs. original ANISOCHRONOUS temporal division indications, which, in the mouths of contemporary musicologists, turns into «happy-go-lucky» singing ( ἱλαροχορευτικόν») 37. An example of «παρεστιγμένον» omissions can also be found in Lycourgos Angelopoulos introduction using Petros Ephesios lines of 37 Term coined by traditional psaltis, president of the «Hypermachos» Association and fierce critic of the Karas theory and school, Theodoros Akridas. 65

71 «Barys diatonic», in contrast to the entire book, («Anthology»), which is FULL of such «παρεστιγμένον». (3) ADDITION or REMOVAL of ACCIDENTS («ἕλξις»), in this case - quite astoundingly -, REMOVAL of a flat («ὕφεσις»). Coupled to the Karas school s preponderant use of intervals incoherent with those of older generation psaltis, this also leads to this school s distancing from other «a capella» o/aural folkloric and sacred traditions recorded during the turn of the 20 th century. (4) ADDITION of «combined» or «complex rhythm» = «syneptigmenos rhythmos», which, counted as it is in OCCIDENTAL MANNER, using a CONSTANT unit of duration, leads to simple OCCIDENTAL rhythms (military march, waltz, tango, etc.), that have NOTHING to do with the way TRADITIONAL psaltiki is CHANTED in church, where, many a time, is made use of a VARIABLE unit of duration. VOCAL music, based on the correct pronunciation, punctuation, articulation and ACCENTUATION of WORDS is MUCH more complex than simple instrumental music. 66

73 Alexandria, Gabriel. 40 According to the author, there is lack of a theoretical definition concerning the «χειρονομία» of the great «ὑποστάσεις» in the older manual, and a more recent theory book during his time seems to define «χειρονομία» in such manner, that it can be understood as a movement within the various parts of a measure (where «μέλος» is interpreted in the sense of a body «part» and not a «melody» [i.e. «μετροφωνία»]). Psaltic formulae in interpretation Generation 1 memory Generation 2 technological support for memory constitution and transmission of psaltic o/aural melodic formulae Μετροφωνία, Ῥυθμὸς, Χρόνος It is clear that traditionally acceptable vocal emissions of phonemes and chant requires a correct functioning of the human person as well as the surrounding environment: the individual should have normally functioning audio-phonatory organs and brain a) for correct detection, perception, stocking, mobilisation and reproduction of sound information, including that of «pitch» and «μετροφωνία»; b) for correct use of complementary interaction parameters such as «rhythm» (written, glyphic representation of meters), «χρόνος» (corporal movement acting as a lever leading to changes of the written rhythm); c) for accurate transmission from teachers who will listen and correct students appropriately. All these elements constitute o/aural melodic formulæ that are transmitted from one generation to the next, and that remain, however, far too complex to be precisely annotated. 40 Guillaume André Villoteau, DESCRIPTION DE L'EGYPTE ou RECUEIL DES OBSERVATIONS ET DES RECHERCHES QUI ONT ÉTÉ FAITES EN EGYPTE PENDANT L'EXPÉDITION DE L'ARMÉE FRANÇAISE. SECONDE ÉDITION DÉDIÉE AU ROI PUBLIÉE PAR C. L. T. PANCKOUCKE. TOME QUATORZIÈME. ÉTAT MODERNE. ÉTAT MODERNE. DE L'ÉTAT ACTUEL DE L'ART MUSICAL EN EGYPTE, OU RELATION HISTORIQUE ET DESCRIPTIVE DES RECHERCHES ET OBSERVATIONS FAITES SUR LA MUSIQUE EN CE PAYS, PREMIÈRE PARTIE. Des diverses espèces de musique de l'afrique en usage dans l'égypte, et principalement au Caire. 360 CHAPITRE IV. De la musique grecque moderne IMPRIMERIE DE C. L. F. PANCKOUCKE, Paris, 1827 (accounts of 1798 expedition) Electronic version : [http://græca.mrezha.net/upload/montrealpsaltiki/001_psaltic_books_theory/villoteauegyptegrecpsaltiqueonlyrefere ncedcorrected05backkrnd.htm] 68

74 «Μίμησις» and memorisation of such melodic formulæ is greatly improved by using all possible associations, including corporal motion, a concept which has been amply discussed in the past by the renowned anthropologist Marcel JOUSSE. 41 memory support for psaltic o/aural melodic formulae Μετροφωνία (Melodic skeleton) Ῥυθμὸς (Rhythm) Χρόνος (Chronos) The tripod of sacred chant memorisation is based upon «μετροφωνία» (a statistical representation of a melody s skeleton), rhythm (as it can be explicitly written in contemporary psaltic notation (CPN), but no so in Gregorian chant) and «χρόνος» (as can be guessed from Gregorian palæography, and not in CPN, where it is applied according to memory). Synthetic view of psaltiki o/aural memory Psatiki = WORD = MOVEMENT Ψαλτικὴ = ΛΟΓΟΣ = ΚΙΝΗΣΙΣ reconstruction of Μετροφωνία Ῥυθμὸς inter-dependent PARAMETERS Χρόνος The word «λόγος» implies in itself a «κίνησις» (movement), and one should not be surprised that the correct elocution of the «λόγος» requires that «κίνησις» (in the form of «χρόνος») be solicited. 41 [http://fr.wikipedia.org/wiki/marcel_jousse] 69

75 B THE IMPORTANCE OF «λόγος» IN PSALTIKI The words of Saint Gregorios (4 th century) are a testimony to the importance of «λόγος» and it should be chanted in church: «Ἀλλὰ καὶ τοῦτο προσήκει μὴ παραδραμεῖν ἀθεώρητον, ὅτι οὐ κατὰ τοὺς ἔξω τῆς ἡμετέρας σοφίας μελοποιοὺς, καὶ ταῦτα τὰ μέλη [σημ. τὰ ἐκκλησιαστικά] πεποίηται οὐ γὰρ ἐν τῷ τῶν λέξεων τόνῳ κεῖται τὸ μέλος, ὥσπερ ἐν ἐκείνοις ἔστιν ἰδεῖν, παρ' οἷς ἐν τῇ ποιᾷ τῶν προσῳδιῶν συνθήκη, τοῦ ἐν τοῖς φθόγγοις τόνου βαρυνομένου τε καὶ ὀξυτονοῦντος καὶ βραχυνομένου τε καὶ παρατείνοντος, ὁ ῥυθμὸς ἀποτίκτεται, ἀλλὰ καὶ ἀκατάσκευόν τε καὶ ἀνεπιτήδευτον τοῖς θείοις λόγοις ἐνείρας τὸ μέλος, ἑρμηνεύειν τῇ μελῳδίᾳ τὴν τῶν λεγομένων διάνοιαν βούλεται, τῇ ποιᾷ συνδιαθέσει, τοῦ κατὰ τὴν φωνὴν τόνου τὸν ἐγκείμενον τοῖς ῥήμασι νοῦν, ὡς δυνατὸν, ἐκκαλύπτων». [PG, 44, 444], [σ , ΑΛΥΓ] Translation 42 : But it should also not be ignored that these melodies as well (the «ecclesiastical melodies», «καὶ ταῦτα τὰ μέλη»), were not composed according to (the thoughts and methods of) composers abiding by a wisdom that is foreign to our own : the «μέλος» does not rely on the accentuation of the words, just as it is to be found in these [i.e.: profane music]; whereby rhythm is formed («ῥυθμὸς ἀποτίκτεται») according to the «qualitative» («ποιᾷ») conditions ( συνθήκη ) of prosody, where the accentuation of the note is made low and then high-pitched, shortened and then extended, but rather, in manner unstructured and simple ( non specialized ) is this music intertwined with the sacred words, the obtained melody thus interpreting the very «mind» («essence») of what is being spoken, with a contextual disposition, according to the (vocal = κατὰ τὴν φωνὴν) sound of the «τόνου» (accent), revealing as much as possible the underlying meaning of the words. It is evident that «ψαλτική» is simply a more ample means of expressing «λόγος», and that vocal movements used in the «λόγος» cannot as such be very different from those of «ψαλτική». A perfect example is to be found in «Μέγα προκείμενον Μὴ ἀποστρέψις», where Iakovos attacks the first Γα by using an enormous glissando starting from Νη, 43 which is totally coherent with the manner the word «Μὴ» («don t») is pronounced when in an effort to stress some negation. Unfortunately, contemporary musicology has introduced an «ὀξεῖα» 44 (which does not appear in 42 Acknowledgements to Nikolaos I. Pantelopoulos for his assistance. 43 video : [http://graeca.mrezha.net/upload/montrealpsaltiki/gkm_paedagogical/kyr_iakovos_nafplitois_mi_apsotrepsis_vi DEO_VOCAL_TRANSITIONS_001.wmv] 44 This is one of the many paleographic neumes that modern musicologists have been arbitrarily introduced into CPN, despite their exclusion by the Three Teachers. A convincing argumentation by Dionysios Anatolikiotis is provided in his book, where he distinguishes between the use and function of a slanted «ὁλίγον» in CPN as opposed to its identical counterpart (in form, shape and inclination), the «ὀξεῖα», in paleography : Διονύσιος Μπιλάλης Ανατολικιώτης «Ο Χουρμούζιος Χαρτοφύλαξ» (καὶ ἡ συμβολή του εἰς τὴν μουσικὴν μεταρρύθμισιν τοῦ 1814), Athens 2004 Book presentation : [http://www.symbole.gr/forum/viewtopic.php?f=132&t=519] 70

76 classical CPN), and supporters of such a novel approach sing this very word with a prior attack from above 45, giving this word singing æsthetics that are contradictory to its pronunciation and use in prose. This is avoided in Patriarchal tradition by slow, clear recitation of each hymn before the start of any chanting lesson, so as to assure word comprehension and correct elucation-pronunciation («λόγος» phase), which will be later on rendered during the «ψαλτική» phase. B «Χρόνος» vs. «Ῥυθμός» Ῥυθμός vs. Χρόνος RHYTHM concerns COMPOSITION (written form) while CHRONOS concenrns INTERPRETATION They are INTER-DEPENDENT: ONE can influence the OTHER It is thus that «ῥυθμὸς» («rhythm») concerns composition while «χρόνος» (in the form of «χειρονομία» or «gesture») alters and redistributes duration values, thus creating new, unwritten or even very difficult to write rhythms, despite the use of contemporary technology. These three parameters («μετροφωνία», «ῥυθμός» and «χρόνος») are dependent variables, in the sense that all combinations thereof are not possible. Traditional combinations exist in the numerous o/aural melodic formulæ that the student is supposed to have learned from various masters: masters refer to such formulæ as «ἀκούσματα» or «hearings. 45 Audio: [http://www.ecclesia.gr/multimedia/audio_index/kathara_deftera/track5.wma] Other audio samples : html : [http://analogion.com/miapostrepseis.html] 71

77 Relationship between CHRONOS and RHYTHMOS movement gesture (χειρονομία) rhythm COMPOSITION ( written ) chronos INTERPRETATION ( vocal, instrumental ) Given the lack of a complete, technical vocabulary, as well as the misuse of existing terms, many use «χρόνος» to describe various phenomena such as «tempo» («χρονικὴ ἀγωγὴ») as well as correct consonant anticipation and ample vowel explosion («entry into tempo» 46 ) without retarding «slurs» («portamento»). Thus, «tempo» is a subset of «χρόνος». Unfortunately, many other terms, used ever since antiquity or medieval ages, have been lost, and only comparative study of psaltiki, Gregorian chant and other a capella singing, will help rediscover the meaning of various, for the time being, ill-defined terms (e.g. χρόνος, numerus, numerose, pedalis regula, plausus, pulsus, scansio, ) 47. An example of how «χρόνος» (in the form of «χειρονομία» variations) is used to alter the chanting of a given written psaltic composition can be demonstrated using the heirmos «Ἀνοίξω τὸ στόμα μου», and comparing its original δίσημος (binary) found in the abbreviated heirmologion to that of the «διπλὸς χρόνος» as given by Ioannis Protopsaltis as well as two performances, that of Metropolitan Eirinaios of Samou and the AOTP, applying «χρόνος διπλὸς» («doubled χρόνος») and «χρόνος ὑποσκάζον» («limping χρόνος»), repectively. 46 Term coined by traditional psaltis and researcher, Kyriakos Tsiappoutas 47 Some of these terms have been selected by Pr. Jacques Viret. 72

78 rhythm: binary rhythm: resulting from doubled chronos (with / without unequal divisions) rhythm: tertiary The above graphs represent two extremes used by the psaltis: binary and ternary rhythm, as well as other intermediate forms, serving as a reference for comparison of actual chanting samples. «Παρεστιγμένον» (duration prolongation) dots were also added to Ioannis version of «χρόνος διπλός» (black line), so as to demonstrate either «avoidance» of (red line) or «drawing near» to ternary rhythms. rhythm: binary rhythm: resulting from doubled chronos (with / without unequal divisions) rhythm: tertiary equal duration among various rhythms aswell as ISOCHRONOUS within EACH MEASURE == ISOCHRONOUS gestures using CONSTANT velocity The analysis of each syllable may be done as follows: - based on the duration of the entire sylable (eg.«ἀνοίξω» : what ratio of the entire meter does this syllable have?) - based, as well, on the use or not of a constant, isochronous unit of duration, which, when multiplied by a whole number, will yield the time lapse of the remaining durations. - based on the distribution of divisions (are they «isochronous» [of equal duration] or not). 73

79 rhythm: binary rhythm: resulting from doubled chronos (with / without unequal divisions) rhythm: tertiary UNequal durations among rhythms as well as within EACH measure == but still using ISOCHRONOUS gestures with constant velocity Analysis of the syllables «Ἀνοίξω τὸ στό-μα μου» - shows «anisochronous» (unequal) duration of these syllables (as compared to each other) throughout various theoretical rhythms, as well as «anisochronous» within each measure; - yet, the gestures used within each measure are ISOCHRONOUS, using a constant velocity of hand movement. Such is not the case with the interpretation of this presentation s author, where a standard unit of duration cannot be found on the macroscopic level. rhythm: binary rhythm: resulting from doubled chronos (with / without unequal divisions) rhythm: tertiary 74

80 binary (δίσημος) Duration Ratios 1:1 = ½ + ½ ternary 2:1 = 2/3 + 1/3 1:2 = 1/3 + 2/3 doubled (with / without unequal divisions) 1:1 = ½ + ½ 2:1 = 2/3 + 1/3 1:2 = 1/3 + 2/3 as well as 2:1:1 = 2/4 + ¼ + ¼ interesting == golden ratio? 1,6 : 1 == 1,6/2,6 καί 1/1,6 [φ/(φ+1)] = 0,618 others (intermediate) ½ 2/3 Comparative method: audio vs. theory WHAT is actually done in practice? EXPECTED observation (theory) CONSTANT primary unit of duration (CPUD) If used PERMANENTLY (ie. continuously, from beginning to end), then the chanted hymn will CORRESPOND to either a unique RHYTHM (or a mixture of simple RHYTHMS, according to accentuation). VARIABLE primary unit of duration (VPUD) If continuously CHANGED from one value to another, thus constituting possible COMPLEX RHYTHMS, difficult to express in written form. CHRONOS nomenclature (audio) paedagogical e.g. unitary chronos, simple chronos (ἁπλὸς), binary/ternary rhythm, doubled (διπλὸς)«κατὰ χρόνον»; [N.B.: συνεπτηγμένος ῬΥΘΜΟΣ (combined rhythm) existsonly in traditional SECULAR music interpretational (ecclesiastical) e.g. συνεπτηγμένος ΧΡΟΝΟΣ, «limping» or «antalgic gait» (ὑποσκάζων), κατὰ ῥυθμὸν* * Because the duration limits of accentuated syllables remain intact; minute temporal SUBRACTIONS ARE permitted be it using either a constant (e.g. Metr. Eirenaios) or variable PUD. Slow sloped glissandos usually lead to temporal duration ADDITIONS, and neither is acceptable in psaltiki, given it is to be likened to «drunken sailor» ( usually «out of tempo» ) singing. The Golden Ratio is of great interest, in that it is not only to be found in architectural designs (either natural of man-made), but in the acoustic scale (system by identical thirds) as well, and, as shown here, in psaltiki s rhythm. Psaltis such as master and teacher Katsifis name this the «ὑποσκάζον» or «limping» rhythm, whereby they astutely prolong the first of two beats, but not long enough to obtain a ternary rhythm. 75

82 B.06. DEVELOPMENTS («ἀναλύσεις») : VOCALISATIONS («λαρυγγισμός») Concerning unequal temporal divisions Περὶ παρεστιγμένων γοργῶν Psaltiki = up to 6 divisions, yet all confined to less than 4 groups «Μανὲς», πχ Στανίτσας Καραδόφωνον Another element of interest is that of «ἀναλύσεις» («developments») and the use of isochronous vs. anisochronous «γοργόν» («dividers») in the interpretation phase. Spectral analysis shows that traditional psaltis limit themselves to a number of rules - no use of more than six isochronous divisions - no use of more than four categories (subsets) - duration prolongations are situated in either beginning or end categories, barely ever in the intermediate categories, and never in the penultimate category The consequences of these rules are that psaltiki never uses divisions beyond a «πεντάγοργον» or its equivalents («τετράγοργον» with one dot, «τρίγοργον» with two dots). Using isochronous divisions beyond the pentagorgon leads to a folk song variety called «ἐπιτραπέζιον, while use of anischronous durations with more than the above number of dots leads to «μανὲς» interpretations. In contrast, literal interpretation of written gorgons without dot prolongations leads to contemporary «Occidental kindergarten» type of interpretations, conveniently named «εὐσεβιστικο-ἰλαροχορευτικόν» («pious-happy-go-lucky» or «gayful-pious», «effeminate») singing, which is foreign to liturgical chant, at least, as it had been safekept until now in the Oriental world. Finally, intermediate category prolongations (instead of the acceptable initial and final categories), especially in the penultimate category, are the cause of a disgusting «stumbling». An appropriate name would be that based on its «founder», a «great 77

83 psaltis» 48 according to the Church of Greece website (where, it is worth noting, there is no mention of Iakovos Nafpliotis[!]), and «wise teacher» according to some of his followers and admirers, many of who exaggerate, both in quality and quantity, this famous «ἔξω σιμωνοκαραδόφωνον» 49, which may be considered as a «pathognomonic» element in almost all those following Karas teachings. Petros of Ephessos claims in his introduction of the «Anthologia», that it is better not to attempt prolongated divisions («παρεστιγμένον») rather than perform them inappropriately. 50 B VOCAL SPECTROGRAM AND EKG ANALOGY Vocal transitions obtained from psaltiki may be paralleled to electrocardiogram (EKG) phenoma, given that analogies may be easily found in pathologies of these two sectors. Without going into detail, the various phases of the EKG are shown in capital letters, and, during normal physiological conditions, their durations evolve within certain limits: any shortening or lengthening of these duration intervals constitute pathological conditions. A number of analogies can be made as follows: [P]=«Σ» for «σύμφωνον» («consonant»), [QRS]=«Φ» for «φωνηέντου ἔκρηξις» («vowel explosion»), [T] for «refractory period», where neither vocalisation nor pitch variations are allowed. Vocalisations during the [T] phase completely destabilize the heart s rhythm, and, by analogy, any psaltic melody. 48 [http://www.ecclesia.gr/multimedia/audio_index/audioindex.html] 49 [http://græca.mrezha.net/upload/montrealpsaltiki/psaltopatheia/gkm_simokaraitic_iscochronisation_faltsolary GISATION_002.htm] 50 «Καὶ ταῦτα μὲν τὰ πάντα περὶ τῶν δυναμωμένων Μαθητῶν οἱ μὴ δυνάμενοι δέ, προφερέτωσαν καὶ ταῦτα τὰ μετὰ στιγμῶν γοργὰ ἁπλῶς ἐν τῇ ἄρσει, ὥσπερ τὰ μὴ ἔχοντα, ὅτι καὶ πρότερον οὕτως ἐποίουν, καὶ μ ὄλου τοῦτο εὐδοκίμουν». 78

86 B.07. CHRONOS («Χρόνος») B «Χρόνος» COUNTING Relationship between CHRONOS and RHYTHMOS movement gesture (χειρονομία) rhythm COMPOSITION ( written ) chronos INTERPRETATION ( vocal, instrumental ) The «CHRONOS Enigma» demystified: Divided chronos allows for CORRECT paedagogy as well as «engagement into tempo», not only in the BEGINNING of each measure and melody but and this is INDISPENSABLE- FOLLOWING each use of COMPOSITE («internal (initial)» or «external (terminal)» expansion of duration or «matrixism» [ὑποσκάζοντος]), thus guaranteing AVOIDANCE of all EXAGERATED deceleration or disrespect of the indispensable -AS WELL- absolute REFRACTORY period that PRECEEDS each beat / «explosion» of succeeding vowel. 81

87 The use of alternating χρόνος allows for clearer elocution as well as a simpler, more homogeneous, yet remarkably less monotonic rendering of any ecclesiastical chant. The «divided χρόνος» is used for pædagogical purposes, to anticipate the use of «γοργὸν» conveniently, but also during ecclesiastical performance, so as to anticipate entry unto a new meter at the very beginning of a melody, or after a given line ending. «Unitary» and «simple» «χρόνος» is used for pædagogical purposes, but during ecclesiastical performance as well, to create «unitary rhythms» with what is usually considered by many as an «ἄρσις». «Composite» or «complex» «χρόνος» is used during ecclesiastical performance, with interventions of the remaining «χρόνος» where necessary, as dictated by tradition. «Complex» «χρόνος» consists of duration dilations and compensatory compressions, be it a) between two or more beats, or b) within or even beyond a given meter, thus resulting in audio temporal effects that are analogous to the visual temporal effets of the movie «Matrix», and which can be conveniently called «Matrix-like» (or «matricial» or even «ματριξισμὸς») effects on duration. 82

88 «internal Matrixism» concluding acceleration initial deceleration gradual acceleration «Complex» «χρόνος» also has an effect on vocalisations, giving an equivalent of a bounding ping pong ball when time dilation is applied initially (internal or «ἔσω ματριξισμός»). «Free» «χρόνος» is a «χρόνος» used by those who have a vast knowledge of the vast developments possibilities, and who use them with adequate dexterity, regrouping neumes and marking pauses so as to give a special form of «rubato», an excellent example being the Koinonikon «Aineite» in first mode as recorded by the legendary Iakovos Nafpliotis. B GREGORIAN CHANT PALEOGRAPHY INDICATIONS OF «χρόνος χειρονομία» paleographic Gregorian chant with CHRONOS indications neo Gregorian chant WITHOUT chronos indications («carrée») notation A number of changes brought forth to written psaltiki lines by «χρόνος» variations can be paralleled to Gregorian chant glyphs and formulæ, given that 83

89 - not only does the latter represent the choice of developments by accurately depicting passages from above or below, as well as anticipatory «glissando» such as the «pes»; - but, more particularly, show various dilations/compressions of duration (i.e. decelerations/accelerations of tempo) within given neumes and their transitions. Gregorian chant : «Dominus dixit», Gradual of Benevant (XI s.) and Triplex version (contemporary «square» notation is shown between two paleographical notations). The «pitch» is WELL indicated on a relative line of Fa (visible) and a line of Re (visible only on original) 1) «Μετροφωνία» : vocal INFLECTION representations, including linked pitches and passage notes can be observed, just like on frequency spectra of Iakovos s voice. 2) Rhythm : there is no indication of RHYTHM (i.e. DURATION of each neume). 3) Interval transitions are at times quite dissimilar to those used in common psaltiki, yet can be found in some transcriptions of psaltiki (e.g. Boudouris, «Ὅσοι εἰς Χριστόν»), and of the clergy s ecphonetic style. 4) By applying SIMPLE «ῥυθμικὴ ἔμφασις» rules on the melodic SKELETON («μετροφωνία») using a TONIC-MUSICAL formula dictionary (from the Greek psaltic repertoire as well as that from other language adaptations thereof), one can compose a «psaltic» version of the above psalm (psaltic means as chanted by the psaltis, which is NOT the ecphonetic style of the clergy which has barely ever been transcribed, but which remains another possibility). One can use the Latin «psalticised» version so as to obtain a Hellenic version of the above Psalmic verse (Christmas «προκείμενον» in mode 1 for which there is no psaltic melody at our disposal) by applying the same principle as above (figure 2, N o 3). Instead of composing «fantasies», one can therefore use Gregorian chant to obtain a METROPHONIC (skeletal) starting point, which can be «expanded» using «ῥυθμικὴ ἔμφασις» rules as well as a formular dictionary. 84

90 anticipation= pes== «glissando» development = passage from above movement = celerite== acceleration B COMPLEMENTARY ASPECTS OF GREGORIAN CHANT AND PSALTIKI Strictly Classical Classical It is quite apparent, at this point, that Psaltiki and Gregorian chant are complementary, as has been summarized on the diagram, which compares complementary written forms of common o/aural tradition formulæ or elements of performance. The diagram is to be read from left to right, where existing o/aural 85

91 formulæ are represented at the rightmost end, whereas their written representations (palæographic and contemporary) precede them. In both Psaltiki and Gregorian chant, paleography made use of «μετροφωνία» and «χρόνος», whereas CPN makes use of «μετροφωνία» and «ῥυθμὸς» to describe a given o/aural formula. It is important to underline the fact that, if the various parameters are to be treated as variables, these variables are DEPENDENT upon each other. Hence, not all combinations are feasible and by consequence, changing one variable usually affects another. For instance, it has already been mentioned that tempo can alter intervals. Another example is that of vocalisations («λαρυγγισμὸς») and developments («ἀναλύσεις»): their complexity normally diminishes with increased tempo. Therefore, any insistence upon simply changing tempo without changing other parameters is incoherent with o/aural tradition. B «Ὑποσκάζον» AND «διπλὸς» (RHYTHM AND «χρόνος») Κεντήµατα =διάρκεια 1 µονάδος χρόνου Κεντήματα : 1 primary unit of duration, iscochronous as well as equivalent in comparison to surrounding neumes Κεντήματα : 1/4 primary unit of duration = anιisochronous as well as secondary to preceeding and succeeding neumes andnotes ([ὀλίγον, ἀπόστροφος], [ἀπόστροφος, ἀπόστροφος]) The use of «ὑποσκάζον» («limping») and «ἐλεύθερος» («free») «χρόνος» in Gregorian chant brings out the «rubato» that is so much called for by various Gregorian chant experts, such as Pr. Jacques Viret. 52 «Χρόνος» (as a motion) and tempo cause changes to the written rhythm, as was demonstrated with the «εἱρμός» «Ἀνοίξω τὸ στόμα μου». It is evident that «rhythm» cannot supersede «χρόνος», as can be demonstrated by comparing CPN musical «ἐξήγησις» of a given palæographic melody as provided by various teachers, where minute differences in terms of «γοργόν» (divisions) and «κλάσμα» (extensions) can be easily observed. Furthermore, the new duration distributions obtained by «χρόνος» variations can be easily observed in some intermediately elaborate «ἀναλύσεις» («developments») provided by such teachers as Petros Manuel of 52 Jacques Viret «Le chant grégorien et la tradition grégorienne», édition «L âge d homme», Lausanne, Switzerland, pg. 125 «... souvent la mélodie notée est une plate schématisation... en comparaison de ce qu en font les chanteurs, avec les finesses d exécution dont ils la parentent (exécution rubato [ 211, 217], ornementations)» and pgs

92 Ephessos (notably in his «Ἀνθολογία», where he admits to limiting transcription precision due to overall complexity) who add duration prolongations («στιγμή» or dots) on «γοργόν». Thus, initially isochronous durations are converted to aniscohronous ones, and the smaller durations are transformed into passage notes, which can explain why they are many a time absent on the original Psaltiki palæographic manuscripts. The following example shows how Petros of Ephessos application of dots transforms durations (last line in blue, where «παρεστιγμένον» differences are shown in yellow), a result obtained by applying «χρόνος» variations to a more simply written, mainly isochronic CPN score (first three lines), as well as low fidelity copy in Lycourgos Angelopoulos introduction (first and fourth lines, in red). The literal interpretation of isochronous «γοργὸν» as they appear in CPN constitutes a primary source of contemporary «pious, happy-go-lucky» singing, as performed by Simon Karas and various followers of his, where «συνεπτυγμένος χρόνος» has been substituted by «συνεπτυγμένος ῥυθμός». This attitude extends, unfortunately, to low fidelity citations of musical lines, where dots on «γοργὸν» have been omitted. This leads our psaltic tradition in the path chosen by the West, where traditional, virile «rubato» (anisochronous) palæographic Gregorian chant has been replaced by a «pious» interpretations of an isochronous square notation, mainly due to lack of o/aural transmission and its replacement by numerous yet inadequate theories. 87

93

94 B.08. RHYTHMIC EMPHASIS («Ῥυθμικὴ ἔμφασις») PALEO Ῥυθμικὴ ἔμφασις Rhythmic emphasis * ms ms 1775 (?) NEO; CPN Παπαδικὰ Στιχηραρικὰ Εἱρμολογικὰ * π. Νικoλαος Μεζης When analysing CPN scores of classical teachers, it is important to acquire adequate samples of palæographic equivalents so as to understand variations not only in terms of rhythm but in terms of «μετροφωνία» as well. An excellent example is that of the Holy Friday «ἀντίφωνα» («Antiennes»), where one notes rhythmic variations extending from more to lesser symmetry («ῥυθμικὴ ἔμφασις»). Furthermore, «μετροφωνία» variations (upper versus lower pentachord starting points) can be explained by referring to one or the other of available manuscripts, such as is the case in the above example. Hence, for those evoking performance choices of such giants as Iakovos Nafpliotis, and going through the trouble to perform «psycho analytic» studies in an effort to explain why Iakovos do not totally abide to some expected metrophonic fidelity according to a given palæographic manuscript, an appropriate reaction to such a foregone conclusion would be to simply ask: «Is your palæographic sample size sufficient? Is there no other manuscript that could vouch for Iakovos choices», which are not necessarily a result of some «psychological» predisposition? Theodoros Vasileiou «Ιάκωβος Ναυπλιώτης: η προσωπικότης και η συμβολή του στην Ψαλτική Τέχνη», 2nd International Pan-Hellenic Conference on the Psaltic Art Athens, 2003 link:[http://www.ecclesia.gr/greek/holysynod/organismoi/byzantine/byz_synedria_2003_1_programme.html] 89

95 Rhythmic emphasis A great problem for those not having memorised sufficient o/aural formulæ (which is the case of all contemporary psaltis) is that of trying to reconstitute a minimum of traditional psaltiki by successfully combining written CPN rhythm with the duration variation movement («κίνησις») of «χρόνος». Therefore, all retrograde parallelism of classical CPN with palæographic manuscripts should be obtained from existing audio material, where such «χρόνος» variations are apparent. These associations will finally benefit research on Gregorian chant «rubato», so as to restore its exquisite punctuation of accentuated syllables. Given that all Latin words of the palæographic era were not accentuated at the exact same syllables as today, such differences may also become apparent to linguistic researchers through the musical accentuation found within a given melodic formula. The mutual benefit (melodic lines for Psaltiki, and performance techniques for Gregorian chant) can also provide an excellent source of common ground for further theological discussion between the two Churches. 90

96 B.09. FORMULA DATA BASE (GREGORIAN, GREEK, RUMANIAN, SLAVONIC, ETC. ) nomenclature based upon computer technology 1 = accentuated syllable 0 = non accentuated syllable i.e., the opposite of the usual definition used in classical theroy books = 100% homologous TONIC formula 100% homologous in MELODIC adaptation < 100% homologous TONIC formula other homologous MELODIC FORMULA used in ADAPTATION Marcel Peres «Organum»; Malcolm Bothwell; Lycourgos Angelopoulos; Paris 1997) The sole use of rhythm can be useful in composition, adaptation and creation of «new» melodic formulæ where original Greek and novel Slavonic and Rumanian formulæ are insufficient. Consulting an experimented psaltis to apply «χρόνος» can help decant what is «fundamental» and what is secondary, and thus help further comprehend not only any novel Slavonic and Rumanian formulæ, but existing yet unwritten rhythmic condensations as well, which are to be found in Hellenic o/aural tradition. The link of today s Hellenic clergy ecphonetic formulæ with those of Gregorian chant will help create «μετροφωνία» associations between the two repertoires, and applying «ῥυθμικὴ ἔμφασις» will allow Hellenic composers to create new melodies for such hymns as the «προκείμενον» verses, for which there are barely any melodies in Greek, as opposed to a plethora in Gregorian chant. One of the first examples of psaltic adaptation is provided here, with a manuscript of the 10 th century A.D. 54, which is exemplary in terms of methodology. 1) One notes that there are just about as many «0»s (non-accentuated syllables) in Hellenic as well as in Latin. This allowed Gregorian (Latin) hymns to be easily adapted according to any pre-existing Hellenic prototypes, of which the above is an example. Wherever the TONIC sequences are the same, the ADAPTION composer uses the SAME melody. Wherever they are different, the adaptation composer uses HOMOLOGOUS music (slightly different yet «similar» to the Greek original, which RESPECTS the «μετροφωνία» (it evolves as much as possible around the original Greek notes). 54 The score was given to the AOTP by Marcel Peres, who collaborated with Lycourgos Angelopoulos on these manuscripts, which were recopied by Malcolm Bothwell. Lycourgos Angelopoulos had made this meeting possible back then, and is herewith thanked publicly, despite our antipodal conceptions of psaltiki. 91

97 2) One also notes that the Hellenic language of that time was pronounced JUST as it is today, as can be seen on the Latin TRANSLITERATION of the Greek text. 3) Using the COMPOSITON provided in psaltic neumes, and chanting simply «κατὰ χρόνον» (according to Boudouris definition; vide infra), the above melody doesn t sound correct (due to an occidental rendering, using a CONSTANT unit of duration). One solution would be to chant according to «σύνθετος» i.e. COMPLEX «χρόνος», which uses a VARIABLE unit of duration («μεταβλητὴ μονάδα διαρκείας»). The chanted piece is thus transformed into a stunning performance. 4) Anything having to do with the Holy Cross in plagal fourth mode usually has cadences of Bου (adjacent) and Πα (O quando in Cruce, ᾯ τοῦ παραδόξου θαύματος). 92

98 B.10. («ὑποσκάζον») RHYTHMS AND «χρόνος» COMPOSITE («συνεπτυγμένος») AND «LIMPING» B DEFINITIONS The term «composite» (or «compound ) ( συνεπτυγμένος ) simply describes a construction of some greater entity by the addition of smaller, fundamental elements. By consequence, «συνεπτυγμένος ῥυθμός» corresponds to compositions that have a regular repetition of smaller rhythm combinations, usually using binary and ternary measures. In folk music, such composite rhythms remain constant throughout a song, from beginning to end, at least as far as percussions are concerned. Using «συρτὸς» as an example, the composite rhythm of seven is composed by the adjoining three elemental rhythms: , where the ternary rhythm is usually in the form of «τροχαῖος» (2+1). When performing the above in scholarly manner, one can count using seven isochronous (equal duration) motions («κίνησις»), which can be regrouped as follows (Method 1): Method 1 (Thesis-Mesis-Arsis) Triangle (Waltz) (Thesis-Arsis) March (Thesis-Arsis) March Method 2 Long Short Short Method 3 Short + Unitary Short Short Yet, the above may be counted as it is danced, in three motions, of which the first is longer and the remaining two equally short (Method 2). Finally, the above may also be counted in four motions, with a very short, «unitary» rhythm intercalated between the first and second of three equally longer motions (Method 3). On the other hand, composite («συνεπτυγμένος») «χρόνος» consists of a succession of hand motions («χειρονομία-κίνησις») performed in such manner as to produce a melody for which it is quite difficult to write out an exact score. Contrary to rhythm, there is no symmetrical (or «periodic») repetition of these motions: it is used in «a capella» music, as well as in vocal music, which at times does not follow directly any regular background percussion rhythm. 93

99 B SCIENTIFIC D ISTINCTION BETWEEN COMPOSITE («συνεπτυγμένος») «χρόνος» AND «ῥυθμός»: THE «STANDARD UNIT OF D URATION» (SUD) B.10.2a DEFINITIONS OF STANDAR D UNIT OF DURATION (SUD) Composite «rhythm» and «χρόνος» can easily be distinguished using a parameter that will be named «standard unit of duration» (SUD), which is «constant» in composite rhythm as opposed to «variable» in composite χρόνος. Computer technology can determine very small SUDs, named «computer» SUDs, resulting in very elaborate transcriptions of traditional psaltiki such as that performed by Iakovos («αἰνεῖτε»). SUDs are obtained from stabilised notes, that is, durations having an average slope of zero on a frequency vs. time spectrum. Human SUDs (HSUD) are a bit larger, because human perception «rounds off» a number of non-zero durations. Finally, great masters prefer rounding off even more, thus enlarging the SUD to a value which is used in composition, named «compositional» SUD. Therefore SUDcomputer < SUDhuman < SUDclassical composition Computer SUDs can thus be used as a common factor, so as to describe melodies that are impossible to write out, and to demonstrate that NOVEL rhythms are created within what is otherwise a rather simple rhythm in terms of classical composition. Given that classical compositions are written using a constant compositional SUD, it takes many years of learning to achieve traditional performance of a score, as well as the reverse, that is, produce a classical transcription while listening to a complex performance. Such «χρόνος» variations of a classical composition create expansions (dilations) and compensatory compressions 94

Math 6 SL Probability Distributions Practice Test Mark Scheme. (a) Note: Award A for vertical line to right of mean, A for shading to right of their vertical line. AA N (b) evidence of recognizing symmetry

HISTOGRAMS AND PERCENTILES What is the 25 th percentile of a histogram? The point on the horizontal axis such that of the area under the histogram lies to the left of that point (and to the right) What

84 CHAPTER 4. STATIONARY TS MODELS 4.6 Autoregressive Moving Average Model ARMA(,) This section is an introduction to a wide class of models ARMA(p,q) which we will consider in more detail later in this

An alcoholometer is a device that measures the concentration of ethanol in a water-ethanol mixture (often in units of %abv percent alcohol by volume). The depth to which an alcoholometer sinks in a water-ethanol

Exercises 0 More exercises are available in Elementary Differential Equations. If you have a problem to solve any of them, feel free to come to office hour. Problem Find a fundamental matrix of the given

Name: Date: Nuclear Physics 5. A sample of radioactive carbon-4 decays into a stable isotope of nitrogen. As the carbon-4 decays, the rate at which the amount of nitrogen is produced A. decreases linearly

ΟΜΗΡΟΥ ΙΛΙΑΔΑ ΑΛΕΞΑΝΔΡΟΣ ΠΑΛΛΗΣ SCHOOLTIME E-BOOKS www.scooltime.gr [- 2 -] The Project Gutenberg EBook of Iliad, by Homer This ebook is for the use of anyone anywhere at no cost and with almost no restrictions

Problems, Concepts, and the Swisscom Test Data Organizer Do you have issues with your legal and compliance department because test environments contain sensitive data outsourcing partners must not see?

1 Λέξεις, φράσεις και προτάσεις (Words, phrases and clauses) The Greek language, like all human languages, has a Lexicon and a Grammar that are used to create sentences. The Lexicon consists of the words

currentid originalid attributes currentid attribute is used to identify an element and must be unique inside the document. originalid is used to mark the identifier that the structure used to have in the